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OUTSTANDING
Early Fish Weathervane.
Likely the J. W. Fiske Company, New York City, ca. 1870.
Form. Surface. Size.
Copper, with a complex weathered surface that has taken on a beautiful verdigris color while retaining a good amount of gilding and sizing.
As weathervanes were of critical importance for centuries to foretell changes in weather, they also become an important American sculptural art form. The best examples, like this scarce full-bodied fish, have appealing sculptural design AND retain an authentic surface that reflects the environmental conditions that led to the aesthetic. Note the balance of top and bottom fins, the graceful flowing lines of the body into the flared and corrugated tail, the repousse eyes, and that dramatic mouth, rimmed with copper molding, that is downswept against the flat bottom jaw. The presence is strong and confident.
About 31 1/2 inches long x 13 tall (including stand) x 5 deep. Superb condition; just a few bullet holes and minor imperfections. See: The Art of the Weathervane, Steve Miller, page 79 for a similar example.
Scarce Double
Book Box
Original Blue Paint
.....SOLD
Probably New England, ca. mid-19th century. Original blue paint and over-varnish (with soft sheen) on what appears to be basswood. Book boxes were made to “hide” within a library (hidden in plain sight) enclosing valuables.
This one is unusual in that it is two faux books, hinged at the carved spine. The fitted interior and “leaf” portions covered in early paper (with staining on the exterior paper which ads to it early character).
About 9 ¼ inches tall x 7 wide x 3 deep. May stand upright or lie flat. Structurally excellent, paint wear as shown. Book boxes are highly collectable. I once had a client who filled an office library with them. From a private Midwest collection.
Fine Group of
Painted Oval Opposing-Finger Boxes
.....sale pending
New England, probably Hingham, Massachusetts, ca. 1840.
Original paint on pine top and bottoms with maple sidewalls. Ranging in length from 4 to 6 ¼ inches. The smallest box engraved “CH”, likely for Cotton Hersey, a prominent Hingham maker. The largest box has the lid interior signed, it appears to read “Ephriana Hildrethe Bank”.
For reference, see Bucket Town: Woodenware and Wooden Toys of Hingham, Massachusetts 1635-1945 by Derin T. Bray.
CHARMING BUCOLIC VILLAGE PAINTING
POSSIBLE RARE PAINTING OF A
SHAKER VILLAGE.
American, ca. early 19th century. Watercolor on paper.
A soft quiet scarcely found two-century old country village painting. Note the subtle folk-art qualities, such as the rightward slope of the buildings, lack of shadowing, and trees in profile just rimming the hills in a manner similar to the iconic folk art painting on the cover of Folk Art in American Life by Robert Bishop.
The artist took care to delineate features like the mullions in windows, fencing, chimneys, and newly planted small trees. Note the blue willow next to the lower-left home.
The largest building lower right on close examination has a bell in the tower, so likely a school building. The dramatic hill in the background is a strong clue as to location, yet it may be exaggerated by the artist to help tell the story. The cluster and architectural of the buildings suggest that the painting could be of a Shaker village, possibly Pleasant Hill, Kentucky.
Good condition with unobtrusive staining or toning. The fine period giltwood frame is about 19 ¼ inches x 16 ¼. Provenance: 40 years ago the collection of Elizabeth Babcock, the last number of years a private historic Massachusetts collection.
Attributed to
JOHN BREWSTER Jr.
Portrait of a Gentleman
New England, ca. early 19th century.
Oil on canvas. Painted half-length with the typical simple Brewster background that focuses attention on the sitter. Brewster rendered the clothing in well modeled detail, with black high-collared coat, white vest, and elaborate tie. The gentleman holds an intriguing envelope, with red wax seal. Often a book is seen as a device to communicate literacy, yet the presence of an envelope is very unusual. What could it have held to gain such prominence in his portrait?
John Brewster Jr. (1766-1854) was a deaf-mute.....,
Ship Portrait of the Isaac Webb
Black Ball Line
At Castle Garden
New York
19th century. Signed lower left L.A. Brigg. Dated [18]51. Watercolor and pencil on paper, showing the Isaac Webb leaving the New York City harbor, with side-winder paddle-wheelers in the background, as well as buildings and other tall ships near Castle Garden in an unusual vignette. Prominent display of American flags aboard ship and at the harbor.
The Black Ball Packet Line was founded in 1817 at New York City by shipbuilder William H. Webb, who owned 1/16 share of the ship named after his father Isaac. From 1851 to 1879, the Isaac Webb, which was 185 feet long weighing 1,359 tons, traveled between NYC and Liverpool, England 4 times per year, taking typically 37 days to cross. The Webb was captured by a Confederate ship, the Florida in June, 1863. After paying a $40,000 ransom (about $1,600,000 now) the ship was released. In December 1866, while heading west to New York, the Webb encountered a gale so cold that it killed three crew members with several others badly frostbitten. The captain was killed during a fierce gale on the same route two years later.
In a period gilt frame that may be original. Frame size 26 inches x 20; sight size 21 inches x 15. From a fine private Midwestern collection.
Exceptional Schoolgirl Coastal Riverscape or Inlet and Townscape
New England, ca. 1820.
Likely Portland, Maine.
Watercolor, pen & ink, on paper.
This painting excels with boldly saturated blues and verdant greens and a composition rich with cool vignettes, featuring a large ocean sailing ship, flying the American flag, likely safely anchored from the Atlantic within the river.....
Provenance includes a private midwestern collection; Jon and Rebecca Zoler, Sotheby’s 2005; private Portland Maine collection; F.O. Bailey, 1988.
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